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Studia Litteraria Universitatis Iagellonicae Cracoviensis

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Volume 13, Issue 3

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2018 Następne

Data publikacji: 31.10.2018

Licencja: CC BY-NC-ND ikona licencji

Redakcja

Redaktor naczelny Celina Juda

Sekretarz redakcji Dominika Kaniecka

Zawartość numeru

Aleksandra Kamińska

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 13, Issue 3, 2018, s. 133 - 140

https://doi.org/10.4467/20843933ST.18.013.8956
The article discusses the metadramatic aspect of William Shakespeare’s Richard II and the way it is rendered in the contemporary Polish translation by Piotr Kamiński, based on a theoretical reflection offered by Patrice Pavis. As Richard II is famous as a “play about language”, one of its themes is being exiled from one’s native language. It seems that this metaphor perfectly lends itself to the discussion of drama translation. In fact, owing to Kamiński’s careful handling of this theme, his text might be read as both metadrama and metatranslation. Furthermore, the article looks into the possibility of translations’ influences on the source culture and assesses potential cultural benefits of drama translation.
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Alicja Kosim

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 13, Issue 3, 2018, s. 141 - 154

https://doi.org/10.4467/20843933ST.18.014.8957
Puste kobiety z Windsoru (1842) is the first complete Polish translation of The Merry Wives of Windsor and the first translation by Placyd Jankowski (1810–1872), one of the most extra­ordinary Shakespeare translators into Polish, who published under the pseudonym of John of Dycalp. His work proves to be an interesting case study on two grounds. First, it is an example of the complexities of translating verbal humor, and secondly, an interesting case of literary rewriting which takes into account the specificity of the target audience to the effect of, as it were, relocating the play from the English countryside to the Polish Kresy (Borderlands). Consequently, it is possible to examine Dycalp’s translation as a linguistic experiment, especially with regards to the parts of Sir Hugh Evans, the Welsh parson, and of Doctor Caius, the French physician. Furthermore, Dycalp’s translation serves as an example of domestication directed at a very specific audience, which adds an unexpected dimension to the issue of multilingualism in Shakespeare’s work as well as to the concept of stage as a broadly understood cultural space.
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Daria Moskvitina

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 13, Issue 3, 2018, s. 155 - 163

https://doi.org/10.4467/20843933ST.18.015.8958
Shakespeare’s Hamlet has always been an attractive challenge for the Ukrainian translators. For now there are more than a dozen variants, and some of them have entered the treasury of the Ukrainian Shakespeareana. It is worth mentioning that the vast majority of these translations were made disregarding the perspective of a production. Only three Ukrainian ‘Hamlets’ were created for the stage, and the almost forgotten translation by Hnat Khotkevych is among them. 
Although this version was intended for performance, none of its words have ever been pronounced from the stage. Hnat Khotkevych, a renowned Ukrainian musician, writer and theatre practitioner of the 1900s‒1930s completed his translation to bring Shakespeare closer to ordinary people. He was deeply convinced that Shakespeare’s dramatic legacy had to be partly ignored to make it suitable for a stage production in Ukraine in the early 20th century. That democratic intention of the translator resulted in a dramatic simplification of the original text. The technique, employed by Hnat Khotkevych, meant, first of all, cutting the dramatis personae of Fortinbras, Voltimand, Cornelius; the gravediggers never appear in this version either. Besides, the translator, firmly believing that Ukrainian actors of his time were totally incapable of reciting Shakespeare’s poetic verse, transformed the Bard’s iambic pentameter into prose. In his translation, Shakespeare’s tragedy acquired specific linguistic and stylistic features of a typical Ukrainian play of the late 19th–early 20th century, much like Khotkevych’s own dramas.
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Zsuzsánna Kiss

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 13, Issue 3, 2018, s. 165 - 183

https://doi.org/10.4467/20843933ST.18.016.8959
The paper offers a few insights into the textual and dramaturgical challenges of Hungarian King Lear playtexts, from the earliest ones till 1922. Since the last decade of the 18th century, when the first full adaptation with the so-called Viennese ending was penned, King Lear has constantly been an ‘object of desire’ in Hungarian theatre, literature and culture. Competing with Hamlet and The Taming of the Shrew in terms of popularity, King Lear quickly became a stock-piece. The task of appropriating King Lear attracted the attention of the best actors, authors and translators. Many Hungarian adaptations of King Lear promoted the professional development of Hungarian acting companies and theatres, of translation itself, and of national dramaturgy. Shakespeare’s darkest tragedy filled a vacuum not only on the stages, but also in Hungarian social life, proving to be the perfectly appropriated, updated, and, to some extent, even politically tolerated representation of crisis.
From the first stage adaptations, King Lear’s numerous translations into Hungarian have conveyed a compelling sense of ‘double bound’ between page and stage, text and interpretation, translation and performance. 
This paper investigates how context and congruity validated certain texts and performances of Hungarian King Lears, and how some texts and performances, having illumined one another, expressed what both actors and audience felt, and thus genuinely filled the void between personal and public spheres. 
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Oana-Alis Zaharia

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 13, Issue 3, 2018, s. 185 - 194

https://doi.org/10.4467/20843933ST.18.017.8960
Taking as a starting point the opposition between translation for the page and translation for the stage, the present paper sets out to consider the strategies employed by 19th-century Romanian translators when rendering Shakespeare’s plays into Romanian. I will discuss two translations of Hamlet: the first, a scholarly, page-oriented translation published by Adolf Stern in 1877; the second, a domesticating stage-oriented translation produced by actor Grigore Manolescu for his own production of Hamlet, at the National Theatre of Bucharest, in 1881. The paper will address such issues as foreignizing vs. domesticating strategies of translation, transparency, the status of the translator as well as the various elements that make a translation for the page differ from a translation for the stage.
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Elisa Fortunato

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 13, Issue 3, 2018, s. 195 - 204

https://doi.org/10.4467/20843933ST.18.018.8961
This paper studies censorship and self-censorship in translations during the fascist regime, and the fine boundary between the two (Bonsaver, Fabre, Rundle). It focuses, in particular, on the history, of Shakespeare’s Julius Caesar translations released during fascism in Italy. Shakespeare’s play was read as an appraisal of the Roman qualities, while the dangerous questions about power and conspiracy that the play contains were ignored. This superficial reading explains why, on the one hand, translations of Julius Caesar increased in the fascist years and, on the other hand, why it was performed only once (in 1935 by Tamberlani). The act of translating is by definition an act of manipulation, while on the stage theatrical properties (e.g., Julius Caesar’s corpse) are not concealable. Examining the translations issued during the regime, and in particular the translators’ notes, it is possible to identify a general translation trend that can be interpreted as an act of submission to the dominant thinking (Tymoczko).
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Agnieszka Romanowska

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 13, Issue 3, 2018, s. 205 - 218

https://doi.org/10.4467/20843933ST.18.019.8962
This article comments on the use of Konstanty Ildefons Gałczyński’s 1950 translation of A Midsummer Night’s Dream in the rock-opera adaptation created by Leszek Możdżer and Wojciech Kościelniak in 2001. Inspecting the production’s critical reception against the background of the translation’s origin and its position in the canon of Polish renderings of Shakespeare’s plays, I explain the critics’ negative reactions to the merge of this traditional poetic translation with modern scenography and music. Analysing a selection of songs,  I identify a number of features of Gałczyński’s text that decide about its functionality in this fairly unusual theatrical test. I also describe the modifications introduced in the translation by the authors of the adaptation in the process of transforming the play’s text into a quasi-libretto.
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Paula Baldwin Lind

Studia Litteraria Universitatis Iagellonicae Cracoviensis, Volume 13, Issue 3, 2018, s. 219 - 235

https://doi.org/10.4467/20843933ST.18.020.8963
Translating a Shakespearean play into Spanish – whether that spoken in Spain or in Latin America – constitutes a complex process, as most translators reckon that the semantic transfer is especially challenging, not only because of the syntactic and linguistic differences between the source and the target language, but also because the English text belongs to a context that is geographically and culturally distant, especially in the case of Chile. In addition, due to the fact that Shakespearean texts are scripts to be performed, translators need to consider theatrical elements inherent in the dramatic text that go beyond the textual apparatus, and that may complicate their work. Taking The Tempest, translated into Spanish by two Chilean scholars in 2010, in this article I will argue that a successful translation of Shakespeare for the stage –
a text that goes from the inter-lingual re-writing of the text to a cultural re-interpretation that speaks to a diversity of contemporary identities and audiences − should endeavour to be cultural, spatial, and collaborative; that is to say, that the translator should have a deep understanding of Elizabethan cultural elements that can be included in the translated text by means of paratexts − precise, relevant, and explanatory linguistic and historical notes that may shed light on directorial decisions once the play is performed, as well as consider the space where the play will be staged, and develop a collaborative system of work with translators, directors, and actors during the whole process.
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